The title on the cover
of this disc is "Scarlatti Piano Sonatas",
and I must say that I am getting tired
of this erroneous type of identification
for the keyboard music of Baroque composers.
The 25 year old Yevgeny Sudbin is playing
a piano, but Scarlatti didn't compose
piano sonatas - he composed sonatas
for the instruments of his era.

Having said the above,
I am not an enemy of Scarlatti on the
modern piano. Although his sharply-etched
phrasing and impetuosity is best served
by the harpsichord, the right pianist
can well convey these properties and
do so while also offering the full diversity
and constant invention of the composer's
sonatas.

This brings me to Yevgeny
Sudbin who is The Right Pianist. The
Scarlatti disc is Sudbin's first solo
recording, and it is superlative in
all respects. My opinion is that he
has no need to take a back seat to the
superb recordings of Vladimir Horowitz
or Mikhail Pletnev and is many steps
above the disappointing recent issue
from Konstantin Scherbakov.

Sudbin's playing of
the works in major keys is infused with
the joyous elixir of life, and the minor
key pieces are wonderfully probing and
melancholy. His pianism is outstanding,
phrasing is supple, and rhythms are
alert and buoyant. From a technical
viewpoint, I am most impressed with
the superb balance and conversational
properties he offers among musical lines;
qualities sorely lacking in the Scherbakov
readings. Most important, Sudbin is
always at the service of Scarlatti's
music. When sparks and sharp contours
are called for, Sudbin fully delivers;
when silky phrasing is needed, he purrs
exquisitely.

The program is also
exceptional, presenting an equal number
of major and minor key sonatas that
are a virtual compendium of Scarlatti's
keyboard styles. Sudbin plays each one
as if he is the composer's soul-mate.
Sudbin's rapid-fire delivery, spicing
of Spanish rhythms, and perfect balance
of musical lines make for a very exciting
and detailed K 545. In the joyous sonatas,
such as K 435 and K 487, Sudbin's exuberance
and rhythmic bounce seem to leap out
of the speakers. Particularly outstanding
is his delightful staccato in K 435
and his virtuosic handling of the wide
octave leaps in K 487. In the K 30 "Cat
Fugue", Sudbin offers pristine stepping
and a world of mystery. He also brings
out all of Scarlatti's spontaneity and
clear dialogue among musical lines as
evidenced by his stunning treatment
of K 426.

Sudbin is equally compelling
in Scarlatti's minor key works of subtle
poignancy and tenderness. Sudbin's K
466 pierces the heart with a warm sensuality,
and his K 87 is haunting as he weaves
his way through the abundant harmonic
invention with gorgeous legato phrasing.
The Sonata in G minor, not present in
the Kirkpatrick numbering system, has
a deep sadness fully probed by Sudbin,
and K 197 is given a subtle intensity
that is riveting.

Wonderful music and
superb performances are certainly sufficient
to warrant a strong recommendation.
In addition, Sudbin's soundstage is
outstanding in its clarity, crispness,
and rich bass response. I have not heard
such fine sonics from any previous Scarlatti
keyboard recordings and doubt that they
will be matched in the near future.

In conclusion, this
new BIS disc is an essential recording
for every Scarlatti enthusiast not allergic
to the piano in this repertoire. Yevgeny
Sudbin has all the technical polish
and artistic inspiration to become one
of the great keyboard artists of the
21st Century. I keenly look forward
to following his career and urge you
to do likewise.

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